www.angus-hughes.comhttp://angus-hughes.com
www.angus-hughes.comWed, 18 Mar 2015 16:57:02 +0000http://angus-hughes.comenUP THE DUFF LONDONhttp://www.angus-hughes.com/UP-THE-DUFF-LONDON
http://www.angus-hughes.com/following/angus-hughes.com/UP-THE-DUFF-LONDONWed, 18 Mar 2015 16:57:02 +0000www.angus-hughes.com9501853Curated by Miguel Mallol
Rosie Leventon | Leandro Lottici
Private View: Friday 5 June, 6-9pm
Exhibition Continues: 6 June – 28 June
Friday to Sunday 12-6pm, or by appointment
<img src="http://payload360.cargocollective.com/1/3/116300/9501853/Up-The-Duff-London-1400_670.jpg" width="670" height="525" width_o="1400" height_o="1098" src_o="http://payload360.cargocollective.com/1/3/116300/9501853/Up-The-Duff-London-1400_1400.jpg" data-mid="51572656" border="0" align="left" data-title="670 — 670 × 525"data-hi-res="http://payload360.cargocollective.com/1/3/116300/9501853/Up-The-Duff-London-1400_1340_c.jpg" />
Angus-Hughes Gallery presents Up the Duff London, an exhibition by Rosie Leventon and Leandro Lottici, curated by Miguel Mallol. The exhibition represents a dialogue between Rosie Leventon’s architectural sculptures and Leandro Lottici’s urban landscapes.
Rosie Leventon reflects in five sculptures, the experiences accumulated from her travels in the Middle East linked with the immediate reality of the London borough of Brent, where she lives and works. From pigeon cots to Buddhist temples, she refers to the sort of structures that we do not see in our everyday lives.
Leandro Lottici represents in three large paintings the contemporary human being, dispersed in his frenetic wanderings of the urban environment in a city like London. Geometrical visions of apparent abstraction bring the spectator to an impossible point of view, with a combination between primary colours in the middle of greys and blacks.
The sculptures and large paintings are created with the main material, called celotex, which can be found just about everywhere, used for insulation, but is difficult to notice because it is inside the structure of buildings. Raw pigment and other materials have been used as a coating and base for all the pieces.
They create an analogy between the industrial mass produced material and the hand crafted objects, to combine raw materials and industrialized ones changing roles and mixing them smoothly. Rosie Leventon and Leandro Lottici allow us to look through the lens of our everyday Junk Culture of concrete blocks, hamburgers and car parks to see the evidence of other cultures only dimly perceived and often misunderstood.
About Rosie Leventon: Rosie Leventon is a British artist based in London. She works internationally and has exhibited at the Museum of Contemporary Art in Barcelona, the Arte Laguna Prize at the Arsenale, Venice, Dostoyoyevsky Museum St Petersburg and the Serpentine Gallery in London. She has recently completed an Arts Council funded commission for the Queen Elizabeth Diamond Jubilee Woods, Normanton le Heath, in Leics (The Woodland Trust). Her work can also be seen at the National Maritime Museum, Greenwich, in the Queens House, and Kings Wood, Challock, Kent UK.
About Leandro Lottici: Leandro Lottici is an Italian artist based in Rome. He has an exhibition in April 2015 with Fabio Mariani in Le Dame Art Gallery Ltd (www.ledame.co.uk) London, which represents the artist in UK. He participated recently in Fiume Tevere, Art 6 Gallery Hangzhou, China, ArtRooms2015 Art Fair, London and MACRO museum of contemporary art, La Pelanda, Rome. He has works currently in Vatican City, Rome and National Art Museum of China, Beijing, China.
About Miguel Mallol: The exhibition is curated by Miguel Mallol. With a degree in History of Art from the University of Valencia and from the Lancaster University, he spent 6 years in Venice where he collaborated with several artists curating exhibitions at the Diocesan Museum and at International Modern Art Gallery Ca’ Pesaro. He also worked for Querini Stampalia Foundation, Venice Biennial - the Spanish Pavilion and Matteo Lo Greco Art Gallery. In Spain he worked with curator Carlos Pérez at MUVIM, Valencia. Since 2014 in London he has been working at ARTROOMS 2015 and Le Dame Art Gallery among other projects.
Curated by Miguel Mallol Rosie Leventon | Leandro Lottici Private View: Friday 5 June, 6-9pm Exhibition Continues: 6 June – 28 June Friday to Sunday 12-6pm, or...Simon Lewandowskihttp://www.angus-hughes.com/Simon-Lewandowski
http://www.angus-hughes.com/following/angus-hughes.com/Simon-LewandowskiSat, 07 Mar 2015 16:18:38 +0000www.angus-hughes.com9272527…an angry mob broke in and destroyed the machine…
Private View Event: Friday 13 March. 6-9pm
Exhibition Continues: 14 March – 19 April
Friday to Sunday 12-6pm, or by appointment
Published in Wall Street International Magazine
<img src="http://payload348.cargocollective.com/1/3/116300/9272527/machine_670.jpg" width="670" height="468" width_o="1014" height_o="709" src_o="http://payload348.cargocollective.com/1/3/116300/9272527/machine_1014.jpg" data-mid="51202627" border="0" align="left" data-title="670 — 670 × 468"data-hi-res="http://payload348.cargocollective.com/1/3/116300/9272527/machine_1000.jpg" />
new and refigured work by Simon Lewandowski
Simon Lewandowski makes useful things that look useless and useless things that look useful: things that move and things that look as if they are moving: things that are there and things that look like they should be somewhere else. In the past he made machines that manifested “artificial stupidity”, a book combining the heuristics of overcoming a creative block with a fictional language of real objects and hypnotized spectators in an empty gallery, publishing the transcripts of what they “saw” .
For Angus-Hughes Gallery he will revisit the familiar - including the repeated, the reversed and the mesmeric – as well testing the going on some new ground.
The Palindrone Dansette is a portable device that plays vinyl records backwards and forwards at haphazard intervals and was originally made as a test rig for The Reversing Machine (an attempt, with Sam Belinfante, to build a functioning time machine).
Another, as-yet-unnamed, piece references a long history of patent devices for mechanising altered states of consciousness – purporting to induce a trance-like state in the complicit user.
Also included is a selection from a body of drawings made under self-hypnosis over the past seven years and shown for the first time; these may reveal something about what is going on in the rest of the work (or just what was going on in the artist’s mind the day they were made).
Finally, new sculptural objects that link form and language in oblique but telling ways. A New Word Order and ShankForce – show another strand of the Lewandowski’s practice in which text becomes a part of objects which remind us of the complications that can arise between what we write, what we mean and what we do.
…an angry mob broke in and destroyed the machine… Private View Event: Friday 13 March. 6-9pm Exhibition Continues: 14 March – 19 April Friday to Sunday...Nick Foxhttp://www.angus-hughes.com/Nick-Fox
http://www.angus-hughes.com/following/angus-hughes.com/Nick-FoxSat, 24 Jan 2015 14:49:44 +0000www.angus-hughes.com9248253Nightsong
Private View: Friday 6 February, 6-9pm
Exhibition Continues: 7 February – 8 March
Friday to Sunday 12-6pm, or by appointment
Read article in Wall Street International Magazine
<img src="http://payload347.cargocollective.com/1/3/116300/9248253/01_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/01_1200.jpg" data-mid="51201985" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/01_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/01a_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/01a_1200.jpg" data-mid="51202139" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/01a_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/01b_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/01b_1200.jpg" data-mid="51202142" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/01b_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/01c_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/01c_1200.jpg" data-mid="51202143" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/01c_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/1d_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/1d_1200.jpg" data-mid="51201992" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/1d_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/02_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/02_1200.jpg" data-mid="51201994" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/02_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/03_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/03_1200.jpg" data-mid="51201995" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/03_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/04_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/04_1200.jpg" data-mid="51201997" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/04_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/05_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/05_1200.jpg" data-mid="51202000" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/05_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/06_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/06_1200.jpg" data-mid="51202001" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/06_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/07_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/07_1200.jpg" data-mid="51202004" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/07_1000.jpg" /><img src="http://payload347.cargocollective.com/1/3/116300/9248253/08_670.jpg" width="670" height="494" width_o="1200" height_o="886" src_o="http://payload347.cargocollective.com/1/3/116300/9248253/08_1200.jpg" data-mid="51202005" border="0" align="left" data-title="670 — 670 × 494"data-hi-res="http://payload347.cargocollective.com/1/3/116300/9248253/08_1000.jpg" />
Documentation Photographs by Nick Fox
Nightsong brings together a body of work created over the last four years, as well as new paintings, drawings and cyanotype prints, and will be shown simultaneously with Bad Seed (5 February – 27 March 2015), a major survey of the artist’s work at Sutton House.
The mainstay of Fox’s practice is his enduring fascination with social and symbolic codes of courtship, identity, culture, art history, myth and narrative. Quietly seditious, he explores these interests through a combination of painting, drawing, installation, sculpture, moving image, sound, live art and intricately laboured objet d’art. Through each of these mediums the artist finds contemporary currency, personal symbol and cultural meaning of longing, seduction, desire and romance, while also revealing a highly personal vision, fusing and transforming sentiment, wisdom and emotional experience into visual-art forms
Boat (2011) for example, takes its inspiration from Arnold Bocklin’s Painting Isle of the Dead (1883), and features real-time footage of a night ferry traveling across the North Sea in an endlessly repeating cycle. Close by sits a gold leafed Möbius strip. The video was made as a response to Fox’s repeat visits to Holy Island on the coast of Northumberland and Hå in Norway, representing mythological journey, emotional transition and transformation.
In Blue Moon: Knot (2012), one of a series of large-scale cyanotypes, the image of a ‘true love’s knot’ – once a common symbol on sailors’ wedding rings – has been developed overnight using the light of the full moon. All of me, Some of me (2014), a configuration of multiple close-up body images also presented in cyanotype form, reveals a simultaneous abstract and intimate portrait of the artist through a process of self-evaluation and analysis. Elsewhere, the image of the lovers knot in reiterated in the work Valency (2012) this time taking the form of a series of physical large scale “drawings” cut from acrylic paint.
The paintings featured in the show consist of a suite of highly polished circular paintings, including the eponymous Nightsong (2012), each of which indicate Fox’s fascination with the gaze either as active voyeur or as passive witness. As always, his works are layered with literary references, in particular the writings of French novelist Joris-Karl Huysmans and Oscar Wilde, giving rise to a keen sense both of the pleasures and the limits of double meanings in the construction of codes. For Angus-Hughes Gallery, Fox has also produced a new series of small-scale paintings which quietly reveal fragments of hope, promise, love and lust through an overabundance of decadent botanical forms.
Close to the paintings sits Murmuring (2009-2015) a pool of paint which in previous displays has resembled a dark oily stain of water, around which stand a collection of sculpted glass objets d’art that are simultaneously reflected both in the pool, and the mirrored paintings, fusing a symbolic role of botanical imagery to Fox’s themes of desire, longing and loss. For Angus Harris, Fox has revisited the work, producing a site responsive golden pool of paint which flows across the gallery’s floor, introducing references to inside and outside, artifice and the natural.
Another work, Come Undone (2011) appears at first sight to be an intricately crafted lace object tantalisingly draped over a piece of furniture. In fact the object have been carefully cut from acrylic paint and the furniture elaborately sculpted from glass, the individual works revealing a devotion to labour in their process, prompting discussion about the subtle relationship between art and craft.
In his series of delicately observed figurative drawings, Fox transforms the found taboo image into one of intimate and emotive experience in which languorous male figures emerge from the surface of the paper. Elsewhere, in his carbon paper drawings this emotive role is applied to a range of eclectic images given a symbolic dusting of gold; the gold dust used being a gift from Fox’s first lover almost twenty years ago.
Meanwhile, a version of Walter Dana and Bernard Jansen’s song, Longing for you, popularised in 1951 in a Vic Damone recording, and here re-configured as a repeating purely vocal track, drifts mournfully through the gallery, echoing the complexities and struggle to communicate across the emotional spectrum.
“On the face of it, Nick Fox’s Nightsong installations hark back to the romantic symbolism of such legendary late-19th century decadents as Oscar Wilde and Joris-Karl Huysmans. A drawing is adorned by gold dust that was apparently gifted to the artist by his first lover. A nocturnal film, The Holy Island of Lindisfarne, plays against a lyrical backdrop of the 1951 Teresa Brewer song Longing For You. It’s intimate art, half in love with heartbreak, longing and loss. In the hands of less skilled artists, such unashamed use of personal confession might come out all clichéd. However, with Fox it comes over as distinctive, and deeply lovely. “
Robert Clarke, The Guardian (10th January 2013)
Nightsong is a touring show which has already been displayed in Norway and Newcastle,
For further information, please contact:
Mark Inglefield, Albany Arts Communications.
E: mark@albanyartscommunications.com
T: + 44 7584 199 500
EVENT: Nightsong Publication London Launch: Friday 6th February 6:00-8:00pm
Special launch price of £15 (usual price £20)
This comprehensive volume is dedicated to artist Nick Foxʼs body of work, Nightsong exploring the physical and emotional instability and the bittersweet intensification of longing that comes as a result of rejection and loss. Published by Art Editions North, edited by Matthew Hearn, with texts by Grainne Sweeney and Nick Fox (interview), Matthew Hearn and Michael Petry. ISBN 9781906832070
Extensively illustrated with 65 colour images.
Further recent publications include
Wicked Game, Society Issue 17 Garageland 2014
Nick Fox Phantasieblume, published by C4RD and AEN, 2010
Biographical Notes:
Nick Fox was born in Durban, South Africa in 1972 and lives in Newcastle upon Tyne and London. He attended John Moores University, Liverpool (1992-95) and Royal Academy Schools, London (1998-2001). Fox was a prize winner in the John Moores Painting Prize, Walker Art Gallery, Liverpool in 2010. Recent group exhibitions include A Union of Voices: HORATIO JUNIOR, London, Sex Shop: Folkestone Fringe, Folkestone, In and out of windows: Vane, Newcastle upon Tyne, Eulogy: Vane, Newcastle upon Tyne, Between fact and fiction: Vane, Newcastle upon Tyne (2014), Winter Show, September, Berlin, Germany, Gifted: Chart, London, Luminous Language: Launch F18 (2013), New York, USA The Dorian Project, SecondGuest, New York, touring to Ana Cristea Gallery, New York, Anschlüssel: London/Berlin, C4RD Centre for Recent Drawing, London, International Print Biennial, Hatton Gallery, Newcastle (2012) (2012), THE FUTURE CAN WAIT presents: Polemically Small, Torrance Art Museum, Torrance, California, touring to CHARLIE SMITH London, 40 Artists 80 Drawings, The Drawing Gallery, London, touring to the Burton Art Gallery and Museum (2012), Baltic Square, Arena Gallery, Liverpool Biennial (2008), and Jerwood Contemporary Painters, Jerwood Space, London (2007).Solo exhibitions include Nightsong, Vane, Newcastle Upon Tyne (2013), Phantasieblume Nåchtlied, Ha gamle prestegard, Håvegen, Norway (2011), Phantasieblume, Vane, Newcastle upon Tyne (2010) and C4RD Centre for Recent Drawing, London (2009) and Unveiled (with Francis Picabia), MOCA London (2006).
Nightsong Private View: Friday 6 February, 6-9pm Exhibition Continues: 7 February – 8 March Friday to Sunday 12-6pm, or by appointment Read article in Wall...Product Placementhttp://www.angus-hughes.com/Product-Placement
http://www.angus-hughes.com/following/angus-hughes.com/Product-PlacementMon, 13 Oct 2014 04:05:37 +0000www.angus-hughes.com3815472Curated by Mark Selby
Irene Alvarez + Rafel Oliva | Gordon Cheung + James Cadogan | Alex Chinneck + Kim Thome | Richard Cramp + Luke Smith-Wightman | Corinne Felgate & Ludovica Gioscia (Factice) + Oscar Wanless & Attua Aparicio (Silo Studio) | Harry Meadows + Max Frommeld
Plus William Smith & Rachael Davies
Private View: Friday 7 September, 6-9pm
Exhibition Continues: 8 September - 30 September
Friday to Sunday 12-6pm, or by appointment
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/PR Image.jpg" width="560" height="294" width_o="560" height_o="294" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/PR Image_o.jpg" data-mid="19866706" border="0" align="left" data-title="670 (560) — 560 × 294"/>
Product Placement brings together a range of artists and product designers who share an interest in how objects are made, displayed and sold in contemporary culture. The exhibition explores the processes of production and marketing commodities, but on a wider scale, how (and by whom) participation in consumer activity is structured or framed.
Each artist and product designer has been ‘paired’ in order to produce a new object, multiple or edition for the exhibition. Via their cross-disciplinary collaboration, new and combined working processes will be found and explored. The resulting objects (perhaps neither product or artwork) are placed in a specifically constructed installation for the exhibition. Through an architectural re-working of the gallery, the space will become a parody of 'catalogue' stores - mimicking their structure of experience with catalogue kiosks, service point (with uniformed assistant) and market hall/storage space. Merging this structure into the space intends to amplify and question the functional similarities and behavioral prompts of gallery, retail and warehouse spaces.
An accompanying publication will be launched on the opening night.
Further information on the collaborators and the project can be found on the Product Placement Website: www.productandplacement.com/
Supported by
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/support logos small.jpg" width="545" height="64" width_o="545" height_o="64" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/support logos small_o.jpg" data-mid="20438056" border="0" align="left" data-title="670 (545) — 545 × 64"/>
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/Design Trail.jpg" width="142" height="204" width_o="142" height_o="204" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/Design Trail_o.jpg" data-mid="20748230" border="0" align="left" data-title="670 (142) — 142 × 204"/>
Photographs by Mark Selby and Iavor Lubomirov
Shop front
William Smith
Catalogue Kiosks (2012)
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement1.jpg" width="670" height="502" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement1_o.jpg" data-mid="21519192" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement1_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement2.jpg" width="670" height="502" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement2_o.jpg" data-mid="21519196" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement2_o.jpg" />
Shop counter
Rachael Davies
Uniform Allowance (2012)
Felt, thread, tissue and double sided tape
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement3.jpg" width="670" height="502" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement3_o.jpg" data-mid="21519199" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement3_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/04.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/04_o.jpg" data-mid="21801408" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/04_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/05.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/05_o.jpg" data-mid="21801411" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/05_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/06.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/06_o.jpg" data-mid="21801416" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/06_o.jpg" />
Store room
Installation views
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/07.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/07_o.jpg" data-mid="21801427" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/07_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/08.jpg" width="670" height="446" width_o="932" height_o="621" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/08_o.jpg" data-mid="21801428" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/08_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/09.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/09_o.jpg" data-mid="21801431" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/09_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/10.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/10_o.jpg" data-mid="21801432" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/10_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/11.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/11_o.jpg" data-mid="21801436" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/11_o.jpg" />
Products
Gordon Cheung + James Cadogan
Sundial (2012)
Laser cut sheets of glued newspaper (Financial Times)
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/12.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/12_o.jpg" data-mid="21801573" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/12_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/13.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/13_o.jpg" data-mid="21801577" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/13_o.jpg" />
Irene Alvarez
How To Sculpt an A4 in 67 Pages (2012)
Animated GIF (DVD transfer)
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/14.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/14_o.jpg" data-mid="21801584" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/14_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/15.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/15_o.jpg" data-mid="21801591" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/15_o.jpg" />
Rafel Oliva
Sculpting the Landscape (2012)
Tripods, fishing rod, binoculars, sunglasses and Polaroid
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/17.jpg" width="670" height="465" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/17_o.jpg" data-mid="21801602" border="0" align="left" data-title="670 — 670 × 465"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/17_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/16.jpg" width="670" height="453" width_o="1052" height_o="712" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/16_o.jpg" data-mid="21801592" border="0" align="left" data-title="670 — 670 × 453"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/16_o.jpg" />
Silo Studio (Oscar Wanless & Attua Aparicio)
Mary and Eliza (2012)
NSEPS polystyrene and polyethylene with disperse heat transfer dye
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/18.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/18_o.jpg" data-mid="21801606" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/18_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/19.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/19_o.jpg" data-mid="21801609" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/19_o.jpg" />
Corinne Felgate (Factice)
Tenskwatawa, Osceola, Wovoka (2012)
Flocked ceramics and human hair
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/20.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/20_o.jpg" data-mid="21801613" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/20_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/21.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/21_o.jpg" data-mid="21801618" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/21_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/22.jpg" width="670" height="465" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/22_o.jpg" data-mid="21801620" border="0" align="left" data-title="670 — 670 × 465"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/22_o.jpg" />
Kim Thome + Alex Chinneck
Wax Tiles (2012)
Melted wax crayons and board
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/23.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/23_o.jpg" data-mid="21801621" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/23_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/24.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/24_o.jpg" data-mid="21801622" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/24_o.jpg" />
Ludovica Gioscia (Factice)
Pan-Stäck (2012)
Screenprinted cardboard
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/26.jpg" width="670" height="465" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/26_o.jpg" data-mid="21801623" border="0" align="left" data-title="670 — 670 × 465"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/26_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/27.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/27_o.jpg" data-mid="21801625" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/27_o.jpg" />
Harry Meadows + Max Frommeld
Pop-Pop Boats (2012)
Boats produced by students from Bow School
Die-cut cardboard and plastic (Packaging)
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/28.jpg" width="670" height="502" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/28_o.jpg" data-mid="21801627" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/28_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/29.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/29_o.jpg" data-mid="21801629" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/29_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/30.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/30_o.jpg" data-mid="21801631" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/30_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/31.jpg" width="670" height="465" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/31_o.jpg" data-mid="21801632" border="0" align="left" data-title="670 — 670 × 465"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/31_o.jpg" />
Richard Cramp + Luke Smith-Wightman
Products 1-5 (2012)
<img src="http://payload75.cargocollective.com/1/3/116300/3815472/32.jpg" width="670" height="446" width_o="1029" height_o="686" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/32_o.jpg" data-mid="21801635" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/32_o.jpg" /><img src="http://payload75.cargocollective.com/1/3/116300/3815472/33.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/33_o.jpg" data-mid="21801638" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload75.cargocollective.com/1/3/116300/3815472/33_o.jpg" />Curated by Mark Selby Irene Alvarez + Rafel Oliva | Gordon Cheung + James Cadogan | Alex Chinneck + Kim Thome | Richard Cramp + Luke Smith-Wightman | Corinne...NUANCE OUTCASTShttp://www.angus-hughes.com/NUANCE-OUTCASTS
http://www.angus-hughes.com/following/angus-hughes.com/NUANCE-OUTCASTSMon, 13 Oct 2014 03:49:08 +0000www.angus-hughes.com8702817Looking at Me Looking at You
Finissage Performance: Sunday 16th November 3pm
Private View: Friday 17 October 6-9pm
Exhibition Continues: 18 October - 16 November
Friday to Sunday 12-6pm, or by appointment
John Lee Bird | Bill Bissett | Richard Ducker | Ben Edge | Ian Gamache
Aly Helyer | Sadie Lee | Fred Lindberg | Richard Meaghan | Paul Sakoilsky | Neil Tait
<img src="http://payload320.cargocollective.com/1/3/116300/8702817/image_1.jpg" width="670" height="447" width_o="1100" height_o="734" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/image_1_o.jpg" data-mid="46959176" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/image_1_o.jpg" />Images: Sadie Lee
"Figurative work and portraiture are outcasts, much out of fashion, for the most part overlooked. I'm addressing this by presenting artists whose work is challenging because of its direction of investigation, or challenging the world full of invention, creating their own journey through life. Portraiture need not restrict itself to painting, drawing, sculpture, the photographic and film - it can be sound or prose, leading me to think about the portrait meal, the notion of you are what you eat. Portraits relate to the layers of the soul." - William Angus-Hughes.
<img src="http://payload320.cargocollective.com/1/3/116300/8702817/i1_670.jpg" width="670" height="446" width_o="3422" height_o="2281" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/i1_3422.jpg" data-mid="48369315" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/i1_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/i2_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/i2_3456.jpg" data-mid="48369321" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/i2_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/i3_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/i3_3456.jpg" data-mid="48369350" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/i3_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/01_670.JPG" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/01_3456.JPG" data-mid="48369312" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/01_1340_c.JPG" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/i5_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/i5_3456.jpg" data-mid="48369353" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/i5_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5389_670.jpg" width="670" height="446" width_o="1388" height_o="925" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5389_1388.jpg" data-mid="48369355" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5389_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5393_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5393_3456.jpg" data-mid="48369359" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5393_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5399_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5399_3456.jpg" data-mid="48369369" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5399_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5400_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5400_3456.jpg" data-mid="48369371" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5400_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5401_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5401_3456.jpg" data-mid="48369374" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5401_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5403_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5403_3456.jpg" data-mid="48369376" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5403_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5428_670.jpg" width="670" height="446" width_o="3182" height_o="2121" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5428_3182.jpg" data-mid="48369402" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5428_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5434_670.jpg" width="670" height="446" width_o="3296" height_o="2197" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5434_3296.jpg" data-mid="48369405" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5434_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5404_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5404_3456.jpg" data-mid="48369378" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5404_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5409_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5409_3456.jpg" data-mid="48369388" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5409_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5407_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5407_3456.jpg" data-mid="48369382" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5407_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5408_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5408_3456.jpg" data-mid="48369385" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5408_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5410_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5410_3456.jpg" data-mid="48369391" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5410_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5417_670.jpg" width="670" height="446" width_o="3371" height_o="2247" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5417_3371.jpg" data-mid="48369393" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5417_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5420_670.jpg" width="670" height="446" width_o="3368" height_o="2245" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5420_3368.jpg" data-mid="48369397" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5420_1340_c.jpg" /><img src="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5423_670.jpg" width="670" height="446" width_o="3456" height_o="2304" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5423_3456.jpg" data-mid="48369400" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload320.cargocollective.com/1/3/116300/8702817/IMG_5423_1340_c.jpg" />
<img src="http://payload320.cargocollective.com/1/3/116300/8702817/kunst_650.jpg" width="650" height="594" width_o="650" height_o="594" src_o="http://payload320.cargocollective.com/1/3/116300/8702817/kunst_650.jpg" data-mid="47973941" border="0" align="left" data-title="670 (650) — 650 × 594"/>
Perfromance 3pm Sunday 16th November
'KUNST-CLOWN DISCOURSE ON METHOD ≠3'
A Lecture-Action by Paul Sakoilsky
for the Finissage of Nuance Outcasts
A rare chance to participate in a Kunst-Clown performance, and the last chance to see this superb exhibition. Also on show: a new edition of Kunst-Clown photographic/mixed media works, and premier of the film 'Kunst-Clown: No-Body' a performance from this summer's 'Fete Worse Than Death (20th Anniversary)' at Red Gallery, London, made by Slack Alice Films.
About the performance:
Starting with a reading of a famous section of Rene Descartes' 'Discourse on the Method' (1637), the Kunst-Clown will attempt to deliver an extemporised lecture concerning concepts of art, politics, technology and economics in the age of integrated virtual networks and neo-feudal globalisation. As per usual, the audience will be invited to pie the artist-philosopher-clown with shaving-foam and sequined pies during the performance.
Paul Sakoilsky is a painter and poet, perhaps best known for 'The Dark Times' project and 'Kunst Clown' performance series. Since the first performance in Budapest, 2006, the ongoing Kunst-Clown series has taken various guises from the simple to the more elaborate. The common denominator is that the audience is invited to ‘pie’ the performer with shaving-foam pies. There have been attempted philosophy lectures, newscasts, portrait painting sessions as well as a banquet in Naples where food took the place of the usual 'pies' (‘Speculum Celestiale’, 2011, cf. link: http://www.frieze.com/shows/review/speculum-celestiale)Looking at Me Looking at You Finissage Performance: Sunday 16th November 3pm Private View: Friday 17 October 6-9pm Exhibition Continues: 18 October - 16 November...Richard Duckerhttp://www.angus-hughes.com/Richard-Ducker-2
http://www.angus-hughes.com/following/angus-hughes.com/Richard-Ducker-2Thu, 11 Sep 2014 03:31:43 +0000www.angus-hughes.com8540284HUM
Private View: Friday 19 September, 6-9pm
Exhibition Continues: 20 September – 12 October
Friday to Sunday 12-6pm, or by appointment
<img src="http://payload312.cargocollective.com/1/3/116300/8540284/Ducker-e-invite-image-no-text.jpg" width="670" height="538" width_o="2935" height_o="2358" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/Ducker-e-invite-image-no-text_o.jpg" data-mid="46051397" border="0" align="left" data-title="670 — 670 × 538"data-hi-res="http://payload312.cargocollective.com/1/3/116300/8540284/Ducker-e-invite-image-no-text_2x.jpg" />
The gallery space has been taken over by some form of alien presence. There is a slippage in time that is both uncertain and playful. A large photograph of a battleship from WW2, taken by the artist’s father, holds the stage, while scattered about the floor are boulders linked together by piping, as if breathing or communicating. One of the boulders is raised up menacingly on a watchtower-like structure. Within this theatrical flight of fancy is the suggestion of a primordial life support system. There is something of The Matrix here, albeit with a Flintstones’ touch.
The text is barely readable in its light grey and lack of punctuation. Paranoia and unspecified surveillance permeate the spliced extracts from David Ike’s book The Biggest Secret and ‘clippings’ from the artist’s own spam box. Its Burroughs-like structure offers a glimpse into the overload of the economic, and its corollary, the conspiracy theory’s paranoiac escapism. Within its incoherence, in the absurdity of its own seriousness, there is also something tragically heroic.
At the heart of the installation is the conduit, the receiver, the prism through which time fragments, the HUM. Geometric, translucent, Modernist - it is a philosopher’s stone, contained by two speakers. The sound* is dissonant, uncertain: an electrical sub station, interference, the Mothership.
The small double self-portrait, painted on canvas, is based on a single black and white photograph of the artist as a young boy. There is nothing remarkable about the image except that the boy is wearing a shirt and tie and has a particularly unsympathetic haircut – it could have been any young boy from anytime between the 1930s and the 1970s. It is this out of time nostalgia that fascinates: the implications of the specific collide with a past that is constructed by history lessons, television, cinema, and WW2 battleships.
These elastic narratives within the autobiographical, of adopted memories and constructed myths, are locked into a spectacle of theatrical interplay. The sculptural object as staged prop, the linguistic deficit, and the curatorial directive of the private, all contribute to this brackish movement of history as fiction, making it both unstable and imprecise. With both recall and invention having its effect, it is the sense of ‘wrong place, wrong time', or in Giorgio Agamben phrase: ‘Out of joint-ness’, that prevails.
*Sound created by John Wynne.
Richard Ducker has exhibited widely through out the UK and internationally, including: Kettles Yard, Cambridge; Serpentine Gallery; Royal Academy, Edinburgh; Mappin Gallery, Sheffield; The Kitchen, New York; The Yard Gallery, Nottingham; Katherine E Nash Gallery, Minnesota, USA; Cell Project Space; Standpoint Gallery; Café Gallery; Anthony Reynolds Gallery; Coleman Projects; and dalla Rosa Gallery.
Information on Richard Ducker can found at www.richardducker.com (07957228351)
<img src="http://payload312.cargocollective.com/1/3/116300/8540284/image.jpg" width="670" height="446" width_o="850" height_o="566" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/image_o.jpg" data-mid="46377409" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload312.cargocollective.com/1/3/116300/8540284/image_o.jpg" /><img src="http://payload312.cargocollective.com/1/3/116300/8540284/image_3.jpg" width="670" height="446" width_o="850" height_o="566" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/image_3_o.jpg" data-mid="46377413" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload312.cargocollective.com/1/3/116300/8540284/image_3_o.jpg" />
<img src="http://payload312.cargocollective.com/1/3/116300/8540284/image_5.jpg" width="566" height="850" width_o="566" height_o="850" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/image_5_o.jpg" data-mid="46377417" border="0" align="left" data-title="670 (566) — 566 × 850"/><img src="http://payload312.cargocollective.com/1/3/116300/8540284/image_4.jpg" width="560" height="850" width_o="560" height_o="850" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/image_4_o.jpg" data-mid="46377415" border="0" align="left" data-title="670 (560) — 560 × 850"/><img src="http://payload312.cargocollective.com/1/3/116300/8540284/image_2.jpg" width="566" height="850" width_o="566" height_o="850" src_o="http://payload312.cargocollective.com/1/3/116300/8540284/image_2_o.jpg" data-mid="46377410" border="0" align="left" data-title="670 (566) — 566 × 850"/>
Photographs by Richard Ducker. HUM Private View: Friday 19 September, 6-9pm Exhibition Continues: 20 September – 12 October Friday to Sunday 12-6pm, or by appointment The gallery space has...On Becoming a Gallery Part Onehttp://www.angus-hughes.com/On-Becoming-a-Gallery-Part-One
http://www.angus-hughes.com/following/angus-hughes.com/On-Becoming-a-Gallery-Part-OneThu, 11 Sep 2014 02:45:38 +0000www.angus-hughes.com1502527<img src="http://payload.cargocollective.com/1/3/116300/1502527/77164_461465696376_561416376_6002983_1992613_n.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload.cargocollective.com/1/3/116300/1502527/77164_461465696376_561416376_6002983_1992613_n_o.jpg" data-mid="7340368" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/77164_461465696376_561416376_6002983_1992613_n_o.jpg" />
Fieldgate Gallery is very happy to present a site-specific installation by Ron Haselden. This will be the inaugural exhibition at the Angus-Hughes Gallery as part of a series of three exhibitions curated by Fieldgate:
ANGUS-HUGHES
Presents
On Becoming a Gallery
An Exhibition in Three Parts: Curated by Fieldgate Gallery
Part One: Oct 21st – Nov 14th
Ron Haselden ‘October’
Private View: Wednesday 20th October, 6-9pm
What Ron Haselden has made is a contingent way of knowing as an object, but what it conjures is the subject who asks in the first place. It’s this subject that fills the room, locates itself in space, rises and drops. It is a happy coming together of a way of asking and a way of knowing, and the sustained suspension of the consistency of the self that this requires. Haselden’s work quietly and persistently transforms the facts of the world and the facts of the strings of thought into a monument to the bodily subject who asks.
Tim Martin, London, September 2008
Ron Haselden appears courtesy of Domo Baal Gallery
On Becoming a Gallery
When a new gallery space opens does it become into the world in the way an artwork does? The Deleuzian notion of becoming is not linear, but a simultaneous realisation of the constituent parts in the becoming of its nature. It is a perception not a process: “We are not in the world; we become with the world; we become by contemplating it. Everything is vision, becoming”. With a gallery however, there is a process over time too. This happens on many levels: the introduction of artworks, the trace of its former usage, the accumulative history of exhibitions that the space establishes, the history that each participant and visitor brings. All of these elements then create a context in which the artworks and gallery are experienced and understood, and it is this dialogue that then becomes the gallery’s nature.
When Fieldgate Gallery was asked to curate the inaugural three-exhibition residency at the Angus Hughes gallery it seemed an interesting prospect to approach it from these different notions of becoming. By definition there will be a linear narrative – all processes take place over time (in this case over the three exhibitions), but the analogy of becoming as a curatorial device remains intriguing. With that in mind the exhibition programme addresses these aspects of realising the gallery over its given chronological time-frame, from its state as an empty space. Through this, each of the exhibitions, in different ways, reveals the gallery space as a site of expectations and meanings.
There is no theme, no critical context, no text. It is about filling a space full of stuff over a three-exhibition period and giving it significance. It is about decisions and percepts, it is about “…the organisation of perceptions, affections, and opinions…that take the place of language”, and when words fail, as they will, then all that is left is to do is as Laurence Sterne describes in ‘Life and Opinions of Tristram Shandy’: “When Corporal Trim flourishes his stick, we are given not the words but a twirling line on the page”.
Richard Ducker, 2010
Part Two: Nov 27th – Dec 19th
Frances Richardson - Gary Colclough
Part Three: Jan 15th – Feb 6th
Aisling Hedgecock – Stewart Gough & Tom Ormond
Paul Eachus with videos by Nooshin Farhid
Fieldgate Gallery
07957 228351 / fieldgategallery@gmail.com / www.fieldgategallery.com
<img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5703Y.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5703Y_o.jpg" data-mid="7340370" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5703Y_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5729Y.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5729Y_o.jpg" data-mid="7340376" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5729Y_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5735Y.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5735Y_o.jpg" data-mid="7340379" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5735Y_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5775Y.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5775Y_o.jpg" data-mid="7340383" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5775Y_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5780Y.jpg" width="670" height="495" width_o="1772" height_o="1310" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5780Y_o.jpg" data-mid="7340386" border="0" align="left" data-title="670 — 670 × 495"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5780Y_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5788.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5788_o.jpg" data-mid="7340387" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5788_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5789Y.jpg" width="670" height="502" width_o="1772" height_o="1329" src_o="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5789Y_o.jpg" data-mid="7340391" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502527/IMG_5789Y_o.jpg" /> Fieldgate Gallery is very happy to present a site-specific installation by Ron Haselden. This will be the inaugural exhibition at the Angus-Hughes Gallery as part...On Becoming a Gallery Part Twohttp://www.angus-hughes.com/On-Becoming-a-Gallery-Part-Two
http://www.angus-hughes.com/following/angus-hughes.com/On-Becoming-a-Gallery-Part-TwoThu, 11 Sep 2014 02:45:36 +0000www.angus-hughes.com1502636<img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 image 1 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 image 1 copy_o.jpg" data-mid="7340724" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 image 1 copy_o.jpg" />
ANGUS-HUGHES
presents
On Becoming a Gallery
An Exhibition in Three Parts: Curated by Fieldgate Gallery
Part Two: Nov 27th – Dec 19th
Frances Richardson - Gary Colclough
Private View: Friday November 26th, 6-9pm
Gallery open: Friday - Sunday, 12-6pm
Frances Richardson describes her sculptural works as “walk-in drawings”. The intent is that the viewer becomes part of an imaginary field within actual space. In this field tables, chairs, I-beams, floorboards, carpets, beds etc. are “drawn” using MDF/plywood in 3 dimensions. Paired down to structural forms they effect through their physical presence, denying the seduction of surface histories.
Gary Colclough’s practice encompasses drawing, sculpture and projections. Central to his work is the presentation of hand-drawn images combined with diagrammatic wooden structures. Through various formal combinations of these elements he explores how the image functions as an element within spatial and temporal arrangements.
On Becoming a Gallery
When a new gallery space opens does it become into the world in the way an artwork does? The Deleuzian notion of becoming is not linear, but a simultaneous realisation of the constituent parts in the becoming of its nature. It is a perception not a process: “We are not in the world; we become with the world; we become by contemplating it. Everything is vision, becoming”. With a gallery however, there is a process over time too. This happens on many levels: the introduction of artworks, the trace of its former usage, the accumulative history of exhibitions that the space establishes, the history that each participant and visitor brings. All of these elements then create a context in which the artworks and gallery are experienced and understood, and it is this dialogue that then becomes the gallery’s nature.
When Fieldgate Gallery was asked to curate the inaugural three-exhibition residency at the Angus-Hughes gallery it seemed an interesting prospect to approach it from these different notions of becoming. By definition there will be a linear narrative – all processes take place over time (in this case over the three exhibitions), but the analogy of becoming as a curatorial device remains intriguing. With that in mind the exhibition programme addresses these aspects of realising the gallery over its given chronological time-frame, from its state as an empty space. Through this, each of the exhibitions in different ways, reveal the gallery space as a site of expectations and meanings.
There is no theme, no critical context, no text. It is about filling a space full of stuff over a three-exhibition period and giving it significance. It is about decisions and percepts, it is about “…the organisation of perceptions, affections, and opinions…that take the place of language”, and when words fail, as they will, then all that is left is to do is as Laurence Sterne describes in ‘Life and Opinions of Tristram Shandy’: “When Corporal Trim flourishes his stick, we are given not the words but a twirling line on the page”.
Richard Ducker, 2010
Part Three: Jan 15th – Feb 6th
Aisling Hedgecock – Stewart Gough & Tom Ormond
Paul Eachus with videos by Nooshin Farhid
Fieldgate Gallery
07957 228351 / fieldgategallery@gmail.com / www.fieldgategallery.com
Frances Richardson
<img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 5 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 5 copy_o.jpg" data-mid="7340729" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 5 copy_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 4 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 4 copy_o.jpg" data-mid="7340728" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 4 copy_o.jpg" />
Gary Colclough
<img src="http://payload.cargocollective.com/1/3/116300/1502636/GC.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/1502636/GC_o.jpg" data-mid="12165004" border="0" align="left" data-title="670 — 670 × 465"/><img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 9 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 9 copy_o.jpg" data-mid="7340735" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 9 copy_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502636/10.jpg" width="670" height="1004" width_o="670" height_o="1004" src_o="http://payload.cargocollective.com/1/3/116300/1502636/10_o.jpg" data-mid="12165098" border="0" align="left" data-title="670 — 670 × 1004"/><img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 8 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 8 copy_o.jpg" data-mid="7340733" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 8 copy_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 12 copy.jpg" width="670" height="483" width_o="850" height_o="614" src_o="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 12 copy_o.jpg" data-mid="7340736" border="0" align="left" data-title="670 — 670 × 483"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502636/Pt 2 Image 12 copy_o.jpg" />
ANGUS-HUGHES presents On Becoming a Gallery An Exhibition in Three Parts: Curated by Fieldgate Gallery Part Two: Nov 27th – Dec 19th Frances Richardson -...On Becoming a Gallery Part Threehttp://www.angus-hughes.com/On-Becoming-a-Gallery-Part-Three
http://www.angus-hughes.com/following/angus-hughes.com/On-Becoming-a-Gallery-Part-ThreeThu, 11 Sep 2014 02:45:35 +0000www.angus-hughes.com1502725<img src="http://payload.cargocollective.com/1/3/116300/1502725/Part 3 installation view copy_12.jpg" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/3/116300/1502725/Part 3 installation view copy_12_o.jpg" data-mid="8067619" border="0" align="left" data-title="670 — 670 × 446"/>
ANGUS-HUGHES
presents
On Becoming a Gallery
An Exhibition in Three Parts: Curated by Fieldgate Gallery
Part Three: Jan 15th – Feb 6th
Aisling Hedgecock – Stewart Gough & Tom Ormond
Paul Eachus with videos by Nooshin Farhid
Private View: Friday, 14th January 2011, 6-9pm
Gallery open: Friday - Sunday, 12-6pm
Aisling Hedgecock
Part accelerated speleothem, part architectonic folly, 'The Ninth Stellation' is a large polychrome sculpture by Aisling Hedgecock made specifically for On Becoming A Gallery. Constructed from an apparently infinite number of polystyrene beads and found Spanish religious ephemera, cut and folded into stellated icosahedrons, Hedgecock employs both meticulous craft and process-led action to transform prosaic materials into pareidolic semblances of biogeological growth.
Stewart Gough & Tom Ormond
Stewart Gough and Tom Ormond continue their collaborative investigation into the sculptural and architectural space around and in between their individual practices. Their two previous collaborations are large scale sculptural works: DeBeauvoir Manor (2006); a Tudor cottage façade made from salvaged loading pallets and plasterboard, which through experience in the round breaks down into a formal abstraction of blue sail like structures. European Vacation (2006-9), is a manipulation beyond the readymade of a ‘Rapido’ folding caravan. Here the existing flat pack panels are re-cut, trimmed and fitted with further hinges, enabling the caravan’s unpacking to continue beyond its designed function, taking flight into abstraction. For ‘Becoming a Gallery’; Gough and Ormond respond to the curators request to provide a wall structure within the exhibition space. They use this opportunity to consider the operation and influence of a partition within the dynamics of an exhibition. Tom Ormond appears courtesy of Alison Jacques Gallery
Paul Eachus’s installations and photoworks are presented, perhaps even propositioned by a series of events, something has taken place, is about to take place or is in the process of taking place. Each event then is in process, not static but in a moment of becoming, it is in this sense transitory; it is unstable. It evokes Deleuze’s notion of ‘delire’, the ‘straight furrows’ fixed by society’s processes of categorisation and the channeling of things into their bracketed places are ruptured and the perverse and the irreconcilable are given the space to form new dialogues.
Nooshin Farhid produces video works whilst employing different subjects and scenarios that have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation, and an unwillingness to settle for what is ‘on offer’ (this is the way things are), reflects upon the current state of things socially, politically and ideologically.
On Becoming a Gallery
When a new gallery space opens does it become into the world in the way an artwork does? The Deleuzian notion of becoming is not linear, but a simultaneous realisation of the constituent parts in the becoming of its nature. It is a perception not a process: “We are not in the world; we become with the world; we become by contemplating it. Everything is vision, becoming”. With a gallery however, there is a process over time too. This happens on many levels: the introduction of artworks, the trace of its former usage, the accumulative history of exhibitions that the space establishes, the history that each participant and visitor brings. All of these elements then create a context in which the artworks and gallery are experienced and understood, and it is this dialogue that then becomes the gallery’s nature.
When Fieldgate Gallery was asked to curate the inaugural three-exhibition residency at the Angus-Hughes gallery it seemed an interesting prospect to approach it from these different notions of becoming. By definition there will be a linear narrative – all processes take place over time (in this case over the three exhibitions), but the analogy of becoming as a curatorial device remains intriguing. With that in mind the exhibition programme addresses these aspects of realising the gallery over its given chronological time-frame, from its state as an empty space. Through this, each of the exhibitions in different ways, reveal the gallery space as a site of expectations and meanings.
There is no theme, no critical context, no text. It is about filling a space full of stuff over a three-exhibition period and giving it significance. It is about decisions and percepts, it is about “…the organisation of perceptions, affections, and opinions…that take the place of language”, and when words fail, as they will, then all that is left is to do is as Laurence Sterne describes in ‘Life and Opinions of Tristram Shandy’: “When Corporal Trim flourishes his stick, we are given not the words but a twirling line on the page”.
Richard Ducker, 2010
Fieldgate Gallery
07957 228351 / fieldgategallery@gmail.com / www.fieldgategallery.com
<img src="http://payload.cargocollective.com/1/3/116300/1502725/A01.jpg" width="670" height="461" width_o="850" height_o="585" src_o="http://payload.cargocollective.com/1/3/116300/1502725/A01_o.jpg" data-mid="12164441" border="0" align="left" data-title="670 — 670 × 461"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/A01_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a02.jpg" width="670" height="286" width_o="670" height_o="286" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a02_o.jpg" data-mid="12164444" border="0" align="left" data-title="670 — 670 × 286"/><img src="http://payload.cargocollective.com/1/3/116300/1502725/A03.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502725/A03_o.jpg" data-mid="12164446" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/A03_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a04.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a04_o.jpg" data-mid="12164447" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/a04_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a04a_21.jpg" width="670" height="436" width_o="749" height_o="488" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a04a_21_o.jpg" data-mid="12164483" border="0" align="left" data-title="670 — 670 × 436"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/a04a_21_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a06.jpg" width="670" height="512" width_o="850" height_o="650" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a06_o.jpg" data-mid="12164452" border="0" align="left" data-title="670 — 670 × 512"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/a06_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a07.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a07_o.jpg" data-mid="12164456" border="0" align="left" data-title="670 — 670 × 465"/><img src="http://payload.cargocollective.com/1/3/116300/1502725/a08.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a08_o.jpg" data-mid="12164457" border="0" align="left" data-title="670 — 670 × 465"/><img src="http://payload.cargocollective.com/1/3/116300/1502725/a05.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a05_o.jpg" data-mid="12164450" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/a05_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a10.jpg" width="670" height="672" width_o="1946" height_o="1952" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a10_o.jpg" data-mid="12164830" border="0" align="left" data-title="670 — 670 × 672"data-hi-res="http://payload.cargocollective.com/1/3/116300/1502725/a10_o.jpg" /><img src="http://payload.cargocollective.com/1/3/116300/1502725/a09.jpg" width="529" height="3226" width_o="529" height_o="3226" src_o="http://payload.cargocollective.com/1/3/116300/1502725/a09_o.jpg" data-mid="12164787" border="0" align="left" data-title="670 (529) — 529 × 3226"/> ANGUS-HUGHES presents On Becoming a Gallery An Exhibition in Three Parts: Curated by Fieldgate Gallery Part Three: Jan 15th – Feb 6th Aisling Hedgecock –...Painter's Matehttp://www.angus-hughes.com/Painter-s-Mate
http://www.angus-hughes.com/following/angus-hughes.com/Painter-s-MateThu, 11 Sep 2014 02:45:31 +0000www.angus-hughes.com1510885<img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00930.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00930_o.jpg" data-mid="7383241" border="0" align="left" data-title="670 (640) — 640 × 426"/>
The first of three shows curated by Lee Maelzer
19th February –13th March 2011
Painters’ Mate brings together seven disparate female painters in an investigation of the male in all his guises: partner, lover, husband, public figure, nemesis, sex object or combinations thereof. Awash with contradictions, jumbled images of past and present lovers mix with cool visions of distance and denial. Fantasies manifest with self-referential lusciousness or metaphorical detachment, while others are infused with humour and absurdity. Ultimately celebratory in tone, there are inescapable ambiguities explored in this exhibition. Sometimes explicit, sometimes spectacularly oblique, these artists express desire and tenderness, subjugation and fear.
Sophie Aston
Alyson Helyer
Lee Maelzer
Yuko Nasu
Miho Sato
Claude Vergez
Jo Wilmot
<img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00931.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00931_o.jpg" data-mid="7382261" border="0" align="left" data-title="670 (640) — 640 × 426"/><img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00920.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00920_o.jpg" data-mid="7383215" border="0" align="left" data-title="670 (640) — 640 × 426"/><img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00933.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00933_o.jpg" data-mid="7383218" border="0" align="left" data-title="670 (640) — 640 × 426"/><img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00922.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00922_o.jpg" data-mid="7383258" border="0" align="left" data-title="670 (640) — 640 × 426"/><img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00929.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00929_o.jpg" data-mid="7383260" border="0" align="left" data-title="670 (640) — 640 × 426"/><img src="http://payload.cargocollective.com/1/3/116300/1510885/DSC00912.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/3/116300/1510885/DSC00912_o.jpg" data-mid="7382248" border="0" align="left" data-title="670 (640) — 640 × 426"/> The first of three shows curated by Lee Maelzer 19th February –13th March 2011 Painters’ Mate brings together seven disparate female painters in an...